When getting started in photography, it's easy to get enamored with all the enticing equipment out there and go on a spending spree, listening to everything everyone suggests you need in the process. However, most of the photo gear people say you "absolutely need" to be a successful photographer isn't as important as they may make it seem, and it's critical to develop your own workflow of tools.
Nikon finally admitted to what has been rumored for months now. The company is developing a “next-generation full-frame (Nikon FX-format) mirrorless camera and Nikkor lenses featuring a new mount,” Nikon said in a press announcement tonight.
Don’t believe it when tell people tell you it’s wrong to shoot portraits with a wide-angle lens. If you know what you’re doing, your results can be eye-catching and super modern-looking.
Amazon Prime members – and you know who you are – you have until Wednesday at 2:59 am ET (or 11:59pm Tuesday PT) to take advantage of all the great photography gear deals out there for Amazon Prime Day.
One of the most misunderstood and overlooked of photo accessories is, without a doubt, the lowly lens hood. At best, most photographers simply take lens hoods for granted. At worst, they leave them in their camera bags where they serve no purpose except to take up valuable space where you could be storing filters or extra batteries.
What do you get when you compare three classic prime lenses: the Canon 85mm F/1.2, 85mm F/1.4, and F/1.8? Photographer David Flores found out when he recently put the Canon EF 85mm f/1.8 USM, Canon EF 85mm f/1.4L IS USM, and Canon EF 85mm f/1.2L II USM lenses through their paces in a portrait shootout on New York City’s Coney Island.
While the main body of my work has been with lenses such as the 24mm fixed, wide angles, and mainly my trusty 16-35mm zoom, I have often found myself wanting a long zoom for the scenes that present themselves along the way. It’s not that I am unwilling or just plain lazy to get closer—a long zoom, like the recently released Tamron 100-400mm, simply changes the way I see and helps me explore other visual options.
The classic definition of macro photography is that the image projected onto the digital sensor (or film plane) should be the same size as the subject. With a 1:1 ratio, a DSLR with a full-frame chip should be able to produce life-size magnification and focus on an area as small as 24x36mm.
The specifications are impressive, but can a super-wideangle zoom with a super-fast f/2.8 aperture deliver the results pros and ardent amateurs demand?
Why go wide when you can go long? That’s the message of Shutterbug’s latest how-to video tutorial offering five reasons why you should be using a telephoto lens to shoot landscape photos.
Nikon announced this morning that it is developing the AF-S NIKKOR 500mm f/5.6E PF ED VR, an FX-format (aka full frame) fixed focal length super-telephoto lens, which the company says will “strike the ideal combination of portability and performance.” Nikon did not release images of this upcoming lens; the photo above is of the AF-S Nikkor 500mm f/4E FL ED VR lens from 2015 for reference.
Yes, this seemed counterintuitive to us too but it’s actually pretty clever. Photographer Pierre T. Lambert, who we have featured on Shutterbug.com many times, has a neat trick that will help you capture unique photos: put something in front of your lens.